Wednesday, May 23, 2007
This is the only public class she gives. Two to four o’clock Wednesday afternoon at Salon Canning.
There were only six students, 4 men and two women, and one of the women seemed to be an assistant — she sure helped me. I think Myriam’s partner’s name was Walter but that’s just a guess. Everything in Spanish and if there was an introduction it flew right by me. Some people were slow arriving and one guy and I got a quick run through of the movement sequence we would be working on. Thank the gods. Basically an Ocho Milonguero (Cortado) followed by the start of an OM but when the woman is ready to rebound into her cross the man puts his right foot into the opening for a sacada and starts her on a back cross and into a giro while he steps around following her. Pressure city. Stronger frame. Put weight on each step, not just put the foot out, keep on the beat.
When we had everyone present we switched to some exercises that really were aimed at just the kind of thing I came for. Stepping on the beat without moving all over the place and stepping on the quick beats when the music featured them.
One of the first exercises seemed to emphasize stepping in place by lifting your leg so your knee bent and your foot came off the ground without a lot of movement of your uppper body.
The assistant wanted me to step with my toe touching the floor first.
The first step of the movement was a side step to the left with a lift of the woman through a strong frame by the man that circled the woman right at the armpit. Then the man changed foot and stepped into the woman’s thigh with his left thigh and sent her into a back ocho that he caught with a step on his right foot that became the basis for his left foot to join in front making a cross???
Then a lead to a cross. Step forward and to the side feet together. Back step on man’s right foot, side step with left and set up Ocho Milonguero with right outside forward step, left forward (with weight), rebound, back step onto left and then side step onto right (with weight) that sets up woman’s final rebound into a cross. That cross as she showed was everything I like about that move. It was compact and lithe and involved a turning, pivoting, falling into the cross that was more spin than effort.
She had an exercise later where she had us going back and forth in a simple pattern doing this cross from one side and foot to the other side and foot.
Then a step forward, side, and feet together again. Setting up the start of another Ocho Milonguero. But this time when it comes to the point of the rebound into the cross the man takes the opening and uses his right foot to sacada the woman and send her into a back cross and the start of a giro. He follows the sacada with a left forward and a right back step then a left side??? that at one point is a bouncy step. And what was the end?
Exercises– one very similar to an invention of my own where you simply go through a back pivot/ocho as part of a giro and rebound to do the same in the other direction, then back and forth, getting that back pivot nailed. Then we did that and the whole giro in time to the music and with a flow with the back pivot as a double time that turned the other steps into a slow feeling movement after the speed necessary for a double time back cross. I had to have a partner to have the momentum to make the moves in time.